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PERSONALIA Krzysztof KIEŚLOWSKI. The dramaturgy of reality Diana GRIGORIEVA. A documentary filmmaker’s special role «If you only work for yourself, you will forever remain amateurs». Krzysztof Kieślowski’s master-class Harvey WEINSTEIN. To smoke and drink in LA Krzysztof ZANUSSI. Farewell to a friend This June the master of not only Polish, but world cinema Krzysztof Kieślowski would have turned 70. March of this year marked 15 years since his untimely death. This section consists of a fragment of the director’s graduation thesis, an essay about his style and ethical and aesthetic position, two memoirs written by his colleagues, and a stenographic record of Kieślowski’s master-class. EXPLORATION Anna KOVALOVA. Leskov’s granddaughter and the pre-revolutionary cinema There is a note on a Saint-Petersburg film studio «Khudozhestvennoe tvorchestvo» in the reference book «All Cinematography» (1916) that says: «A granddaughter of the writer Leskov, Natalia Dmitrievna Bakhareva, got interested in cinema and in April, 1915 established a company for producing film with participation of actors from Aleksandrovsky theater and others». The article presents the story of the life and films of one of the first Russian women filmmakers. Keywords: early cinema, film studio «Khudozhestvennoe tvorchestvo [Artwork]», Natalia Bakhareva FILM MUSEUM Regina IANUSHKEVICH. The Great Silent talked. Fragments of memoirs. (Publication and introduction by Olga Romanova) Regina Ianushkevich (1896–1978)—an actress, a writer, a playwrighter, a script-writer—is known in the Soviet film history as co-author of the films «Putyovka v zhizn’ [Road to Life]» and «Grunia Kornakova». At the same time, very little is written about her subsequent life and career. The same goes for Nikolai Ekk, who was Regina Ianushkevich’s husband and co-author in the 1920–30s. We try to fill in the gaps by reprinting chapters from Ianushkevich’s book «Time does not wait» that deal with the Moscow theater life of the second half of the 1920s and her work on «Road to Life». The book was first published in Lithuanian in the 1960s. The translation is supplemented by fragments of Ianushkevich’s Russian-language memoirs preserved at the Moscow Film Museum. Keywords: transition to sound, Soviet cinema of the 1930s, Nikolai Ekk EXPERIENCE (I) Mikhail IAMPOLSKII. The road not taken (Muratova before Muratova) The first films of Kira Muratova, it would seem, are more akin to the usual Soviet film canon that in the early 1960 started to shed its socialist realism aesthetic, than to any individual, «auteur» style. If, however, we compare the two films made by Muratova together with her husband in the early 1960s to films on a similar, «village» topic made within the Stainist film canon, we will see that the opposite is true. The author explores the directors’ philosophy and traces the phenomenology of hunt and cruelty to animals that is reflected in their philosophy. Another aspect of this philosophy, traced in the films made by Aleksandr Muratov and Kira Muratova together and separately, is the transformation of the question of truth, moral principles and stoic honesty in relation to the simultaneous transformation of these notions in society. Keywords: ritual, hunt, truth, philosophy and film, canon of socialist realism, cinema of the Thaw TOWARDS INTERPRETATION OF A FILM Yuliia ANOKHINA. «Solaris»: before and after Tarkovsky The article analyses 3 adaptations of Stanisław Lem’s novel: a TV-play directed by Boris Nirenburg (1968) and two film versions made by Andrei Tarkovsky (1972) and Steven Soderbergh (2002). The production history of Nirenburg’s adaptation is revealed here for the first time. The article explores certain constant features of all the screen adaptations of «Solaris», as well as significant differences between them that reflect each director’s individuality and historical context of each version. The text also touches upon the question of influence that the literary source and its translations had on the style and conception of each adaptation. Keywords: «Solaris», film adaptation, Andrei Tarkovsky, Stanisław Lem, Boris Nirenburg, Steven Soderbergh, sci-fi DOCUMENTS AND COMMENTARY «Solaris». The film’s file. (Publication and commentary by Yuliia Anokhina, introduction by Dmitrii Salynskii) A compilation of documents from the «Mosfilm» studio archive traces the film’s production process, the history of its censorship and approval by the highest Soviet film authority, Goskino. PARALLELS Fedor ERMOSHIN. Andrei Tarkovsky and Thomas Mann: towards the history of influence Thomas Mann was among Andrei Tarkovsky’s favorite writers. The films of the Russian director are filled with direct and indirect references and allusions to the works of the German novelist. In spite of the importance of the «Mannian» context in Tarkovsky’s art, this topic has never attracted specific attention. In particular, the article traces the influence that the ideas of «The Magic Mountain» and «Confessions of Felix Krull» had on the poetics of Tarkovsky’s last film, «The Sacrifice» (1986). Keywords: film adaptation, Andrei Tarkovsky, Tarkovsky’s diaries WORKSHOP Olga KOVALKOVSKAIA. The influence of the painting tradition on the visual side of a film Our journal has traditionally published the best theses written by the graduates of the Department of Film Studies at VGIK. However, at VGIK, as well as in other film schools, the graduation works of other departments’ students are represented by films that demonstrate their professional abilities as directors, cameramen, sound directors etc. To continue the tradition and to expand it, we publish the theoretical part of the graduation work of Olga Kovalkovskaia (Department of Camerawork at Saint-Petersburg State University of Film and Television (SPbGUKiT), class of A.V.Chirov and V.A.Vasiliev). EXPERIENCE (II) Andrew SARRIS. The shape of films to come. (Translated by Natalia Ryabchikova) Jeanpaul GOERGEN. Colorful pictures from a paint tub. Tinting and toning in documentary films of the 1910–1920s (Translated by Anna Kukes) Nikolai MAYOROV. The color of Soviet cinema Artyom SOPIN. Film textology. An attempt at classification A panel discussion on colorization took place in early 2011 at Gosfilmofond. The specific focus of the discussion, however, didn’t allow for bringing up the most urgent issues and problem spots of the current situation with multiple versions, variants, digitalizations and restorations of films. We feel the need to continue the discussion by organizing a sort of long-distance conference dedicated to the problems of film textology. The results of a survey on the subject conducted among film scholars and restoration specialists will appear in one of our next issues. In this issue we open the discussion with a number of articles that touch upon general problems of archeographic description of films and of existence of old films in the realm of culture. They also deal with practical question of toning and tinting in early cinema as well as of using color negative film and developing methods of making color films in the Soviet Union in the 1930–1950s. AD GLORIAM Konstantin Ognev is 60 Maksim KAZIUCHITS. Television and TV-series: from structure to phenomenon The article traces the main tendencies in the development of American cable TV-series. In a number of projects («House M.D.», «Bones», «Dexter», «Fringe»), starting from 2000s, the storyline was supplemented with a intricate system of visual effects and non-traditional story elements. The author suggests that these changes reflect general processes that have occurred in the social and cultural context, including visual arts. The key problem that the text poses is the representation of a main character in a TV-series and the transformation of ideological content. Keywords: cinema, television, TV-series, visual culture, visual art, mass media, phenomenology, philosophy, anthropology, existentialism335 THEME FOR EXPLORATION Natascha DRUBEK. The cinema, the clock and the rain. Towards the pre-history of Deleuze’s time-images The author extends the philosophical apparatus of Gilles Deleuze to the cinema of Eastern Europe. These films of the late 1950s-1970s were only touched upon in his book «Cinema», although sometimes it seems they were created with the sole purpose of constructing and reflecting time in cinema. The author examines l’image-temps, time-images of Deleuze that exist outside of cinema and sets forward new concepts of time and depiction of time that were not accounted for in the philosophy of time and cinema created by Bergson and Deleuze. Concepts of time that were formulated after the Second World War are also taken into account. Lastly, examples from the Eastern European cinema serve as the testing ground for Deleuze’s theory. Keywords: Marlen Khutsiev, Georgii Daneliia, Věra Chytilová, Jan Němec, František Vláčil, Henri Bergson, Deleuze, time in cinema, cinema of Eastern Europe, philosophy and cinema, film avant-garde, early cinema ARCHIVES «The cinema’s eye followed the pilot’s eye». «The Great Flight» of Vladimir Shneyderov and Georgii Blium. (Publication, introduction and commentary by Natalia Ryabchikova) Georgii Blium. Filmography. (Compiled by Natalia Ryabchikova) Documents from the «Proletkino» studio archive, supplemented by the contemporary articles and fragments of memoirs, open up another page from the Soviet film history. They show that the studio was interested in cinema not only as a propaganda weapon, but as a commercial enterprise as well. The journey to China and Japan gave «Proletkino» the opportunity to create a full-length documentary about the record-setting flight. It also became an occasion for establishing connections with foreign film production companies and for trying to widen the studio’s distribution network. A full filmography of the co-author of «The Great Flight», cameraman and director Georgii Blium is published here for the first time. EXPERIENCE (III) Tamara SERGEEVA. In the world of magnetic storms A critical essay about the philosophy and aesthetics of the films of Vadim Abdrashitov and Aleksandr Mindadze. The author proposes a classification of the components of each film made by the two filmmakers. These components then become the building blocks of their respective ethical and aesthetic positions. MARGINALIA Andrei SHEMIAKIN. Reflections on the avant-garde and Andrei Khrenov’s book.(Andrei Khrenov. Magi i radikaly [Magicians and radicals]. M.: Novoe literaturnoe obozrenie, 2011) Review of the first history of the American avant-garde published in Russian. This history, to a certain extent, reflects the progress of the avant-garde as such. |
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является незаконным.